Gatherings from Spain

by Richard Ford

THE THEATRE.

HAVING seen a bull-fight, the sight of Spain, those who only wish to pass time agreeably cannot be too quick in getting their passports viséd for Naples. A pleasant country life, according to our notions, in Spain, is a thing that is not; and the substitute is but a Bedouin Oriental makeshift existence, which, amusing enough for a spurt, will not do in the long run. Nor is life much better in the towns; those in the inland provinces have a convent-like, dead, old-fashioned look about them, which petrifies a lively person; nay even an artist when he has finished his sketches, is ready to commit suicide from sheer Bore, the genius of the locality. Madrid itself is but an unsocial, second-rate, inhospitable city; and when the traveller has seen the Museum, been to the play, and walked on the eternal roundabout Prado, the sooner he shakes the dust off his feet the better. The maritime seaports, as in the East, from being frequented by the foreigner, are a trifle more cosmopolitan, cheerful, and amusing; but generally speaking, public amusements are rare throughout this semi-Moro land. The calm contemplation of a cigar, and the dolce far niente of siestose quiet indolence with unexciting twaddle, suffice; while to some nations it is a pain to be out of pleasure, to the Spaniard it is a pleasure to be out of painful exertion: existence is happiness enough of itself; and as for occupation, all desire only to do to-day what they did yesterday and will do to-morrow, that is nothing. Thus life slips away in a dreamy, listless routine, the serious business of love-making excepted; leave me, leave me, to repose and tobacco. When however awake, the Alameda, or church-show, the bull-fight, and the rendezvous, are the chief relaxations. These will be best enjoyed in the Southern provinces, the land also of the song and dance, of bright suns and eyes, and not the largest female feet in the world.

The theatre, which forms elsewhere such an important item in passing the stranger’s evening, is at a low ebb in Spain, although, as everybody is idle, and man is not worn out by business and money-making all day, it might be supposed to be just the thing; but it is somewhat too expensive for the general poverty. Those again who for forty years have had real tragedies at home, lack that superabundance of felicity, which will pay for the luxury of fictitious grief abroad. In truth the drama in Spain was, like most other matters, the creature of an accident and of a period; patronised by the pleasure-loving Philip IV., it blossomed in the sunshine of his smile, languished when that was withdrawn, and was unable to resist the steady hostility of the clergy, who opposed this rival to their own religious spectacles and church melodramas, from which the opposition stage sprung. Nor are their primitive mediæval Mysteries yet obsolete, since we have beheld them acted in Spain at Easter time; then and there sacred subjects, grievously profaned to Protestant eyes, were gazed on by the pleased natives with too sincere and simple faith even to allow a suspicion of the gross absurdity; but everywhere in Spain, the spiritual has been materialised, and the divine degraded to the human in churches and out; the clergy attacked the stage, by denying burial to the actors when dead, who, when alive, were not allowed to call themselves “Don,” the cherished title of every Spaniard. Naturally, as no one of this self-respecting nation ever will pursue a despised profession if he can help it, few have chosen to make themselves vagabonds by Act of Parliament, nor has any Garrick or Siddons ever arisen among them to beat down prejudices by public and private virtues.

ANCIENT DRAMA.

Even in this 19th century, confessors of families forbade the women and children’s even passing through the street where “a temple of Satan” was reared; mendicant monks placed themselves near the playhouse doors at night, to warn the headlong against the bottomless pit, just as our methodists on the day of the Derby distribute tracts at turnpikes against “sweeps” and racing. The monks at Cordova succeeded in 1823 in shutting up the theatre, because the nuns of an opposite convent observed the devil and his partners dancing fandangos on the roof. Although monks have in their turn been driven off the Spanish boards, the national drama has almost made its exit with them. The genuine old stage held up the mirror to Spanish nature, and exhibited real life and manners. Its object was rather to amuse than to instruct, and like literature, its sister exponent of existing nationality, it showed in action what the picaresque novels detailed in description. In both the haughty Hidalgo was the hero; cloaked and armed with long rapier and mustachios, he stalked on the scene, made love and fought as became an old Castilian whom Charles V. had rendered the terror and the model of Europe. Spain then, like a successful beauty, took a proud pleasure in looking at herself in the glass, but now that things are altered, she blushes at beholding a portrait of her grey hairs and wrinkles; her flag is tattered, her robes are torn, and she shrinks from the humiliation of truth. If she appears on the theatre at all, it is to revive long by-gone days—to raise the Cid, the great Captain, or Pizarro, from their graves; thus blinking the present, she forms hopes for a bright future by the revival and recollections of a glorious past. Accordingly plays representing modern Spanish life and things, are scouted by pit and boxes as vulgar and misplaced; nay, even Lope de Vega is now known merely by name; his comedies are banished from the boards to the shelves of book-cases, and those for the most part out of Spain. He has paid the certain penalty of his national localism, of his portraying men, as a Spanish variety, rather than a universal species. He has strutted his hour on the stage, is heard no more; while his contemporary, the bard of Avon, who drew mankind and human nature, the same in all times and places, lives in the human heart as immortal as the principle on which his influence is founded.

MODERN STAGE.

In the old Spanish plays, the imaginary scenes were no less full of intrigue than were the real streets; then the point of honour was nice, women were immured in jealous hareems, and access to them, which is easier now, formed the difficulty of lovers. The curiosity of the spectators was kept on tenter-hooks, to see how the parties could get at each other, and out of the consequent scrapes. These imbroglios and labyrinths exactly suited a pays de l’imprévu, where things turn out, just as is the least likely to be calculated on. The progress of the drama of Spain was as full of action and energy, as that of France was of dull description and declamation. The Bourbon succession, which ruined the genuine bull-fight, destroyed the national drama also; a flood of unities, rules, stilted nonsense, and conventionalities poured over the astonished and affrighted Pyrenees: now the stage, like the arena, was condemned by critics, whose one-idead civilization could see but one class of excellence, and that only through a lorgnette ground in the Palais Royal. Calderon was pronounced to be as great a barbarian as Shakspere, and this by empty pretenders who did not understand one word of either;—and now again, at this second Bourbon irruption, France has become the model to that very nation from whom her Corneilles and Molières pilfered many a plume, which aided them to soar to dramatic fame. Spain is now reduced to the sad shift of borrowing from her pupil, those very arts which she herself once taught, and her best comedies and farces are but poor translations from Mons. Scribe and other scribes of the vaudeville. Her theatre, like everything else, has sunk into a pale copy of her dominant neighbour, and is devoid alike of originality, interest, and nationality.

SPANISH TRAGEDY.

It was from Spain also that Europe copied the arrangement of the modern theatre; the first playhouses there were merely open covered court-yards, after the classical fashion of Thespis. The patio became the pit, into which women were never admitted. The rich sat at the windows of the houses round the court; and as almost all these in Spain are defended by iron gratings, the French took their term, loge grillée, for a private box. In the centre of the house, above the pit, was a sort of large lower gallery, which was called la tertulia, a name given in those times to the quarter chosen by the erudite, among whom at that period it was the fashion to quote Tertulian. The women, excluded from the pit, had a place reserved for themselves, into which no males were allowed to enter—a peculiarity based in the Gotho-Moro separation of the sexes. This feminine preserve was termed la cazuela, the stewing pan, or la olla, the pipkin, from the hodgepotch admixture, as it was open to all ranks; it was also called “la jaula de las mugeres,” the women’s cage—“el gallinero,” the henroost. All went there, as to church, dressed in black, and with mantillas. This dark assemblage of sable tresses, raven hair, and blacker eyes, looked at the first glance like the gallery of a nunnery; that was, however, a simile of dissimilitude, for, let there be but a moment’s pause in the business of the play, then arose such a cooing and cawing in this rookery of turtle-doves,—such an ogling, such a flutter of mantillas, such a rustling of silks, such telegraphic workings of fans, such an electrical communication with the Señores below, who looked up with wistful glances on the dark clustering vineyard so tantalizingly placed above their reach, as effectually dispelled all ideas of seclusion, sorrow, or mortification. This unique and charming pipkin has been just now done away with at Madrid, because, as there is no such thing at Covent Garden, or Le Français, it might look antiquated and un-European.

The theatres of Spain are small, although called Coliseums, and ill-contrived; the wardrobe and properties are as scanty as those of the spectators, Madrid itself not excepted; when filled, the smells are ultra-continental, and resemble those which prevail at Paris, when the great people is indulged with a gratis representation; in the Spanish theatres no neutralizing incense is used, as is done by the wise clergy in their churches. If the atmosphere were analysed by Faraday, it would be found to contain equal portions of stale cigar smoke and fresh garlic fume. The lighting, except on those rare occasions when the theatre is illuminated, as it is called, is just intended to make darkness visible, and there was no seeing into the henroosts towards which the eyes and glasses of the foxite pittites were vainly elevated.